Selected Essays of John Berger (Paperback)

~ (Author)

Editorial Reviews

From Publishers Weekly

At 75, British-born prolific art writer Berger (Ways of Seeing) is a longtime farm dweller in the French Alps, which may help give his prose its much-praised unadorned directness and earthiness. This weighty tome selects essays from previous volumes, including The Sense of Sight and Keeping a Rendezvous. They include terse meditations on painters like Picasso, Matisse, Pollock, Goya, Poussin and Gauguin, as well as sculptors like Lipschitz, Brancusi and Zadkine. There are farm-inspired essays like "A Load of Shit" and stark personal essays with a peasant-like directness: "When my father died recently, I did several drawings of him in his coffin. Drawings of his face and head." This stance makes his thoughts about artists, whether praising Picasso or decrying the British painter Francis Bacon, seem all the more authentic and credible. Piles and piles of prejudices here wind up being eminently readable because they're expressed without ornate flourishes and in a plain-spoken (sometimes overly so) stance. In the tradition of energetic British eccentrics, Berger has contributed much to writing on modern art, often speaking sense and doing it more entertainingly than most salaried newspaper specialists. (Dec.)Forecast: Berger's Ways of Seeing is still a campus favorite for intro. to art classes, and these essays should be a sure thing for most college libraries. But Berger has enough name recognition to reach literate non-specialists, and the book should make it into many public libraries and gift tables. The author's 75th birthday makes a good hook for rousing regular art readers and getting them to make a Berger purchase.

Copyright 2001 Cahners Business Information, Inc.

--This text refers to an out of print or unavailable edition of this title.

Review

"An important, not-to-be-missed chance to luxuriate in Berger's incomparable sagacity and visual sense." ?The Washington Post

?[Berger?s grace] is in his way with words, and the infinite meanings he finds in that common but extraordinary thing, noticing.? ?The New York Times Book Review

?Tenderness, and an unflagging interest in the experience of being human, infuse his work.? ?Los Angeles Times

"Berger is one of the greatest living writers in the English language." ?Buffalo News -- Review

See all Editorial Reviews

Product Details

• Paperback: 608 pages
• Publisher: Vintage (March 11, 2003)
• Language: English
• ISBN-10: 0375713182
• ISBN-13: 978-0375713187
• Product Dimensions: 8 x 4.8 x 1.1 inches
• Shipping Weight: 12.8 ounces (View shipping rates and policies)
• Average Customer Review: 4.8 out of 5 stars  See all reviews (6 customer reviews)
• Amazon.com Sales Rank: #282,370 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

26 of 28 people found the following review helpful:

5.0 out of 5 stars Indispensable, October 28, 2004

By	Gulley Jimson (Bethesda, MD) - See all my reviews

I happened to pick this book up in a store because I had read one novel of Berger's, Pig Earth, which I thought was very good. I knew he was an art critic, but I never had any particular urge to read art criticism; I didn't think visual art needed a lot of explaining. Just reading the three page essay on Jackson Pollock convinced me that, at least regarding the type of criticism that Berger writes, I was wrong. In a few sentences, he seems to capture the essence of what an artist has accomplished (or is trying to accomplish) in his or her work, and makes the work more vivid and meaningful than it was before. Here is clear proof that finding words for one's experience of a work of art doesn't devalue it but makes it richer.

One of the things that makes these essays so gripping is that Berger is interested in something that seems to have fallen out of fashion in criticism: using art to identify the predicament of a culture. I remember, even before I picked up Pig Earth, being worried by the fact that Berger is a lifelong Marxist. But there is nothing doctrinaire or repetitive about his explanations of phenomenon; he is a free intellect, and I would argue that just because Marx's solutions have been widely discounted does not necessarily mean that his diagnoses are also invalid. In any case, Berger's priorities are always first exploring his subject, not imposing an orthodox framework on them.

The book, also, is not just about art. Berger is a real man of letters; his essays range over every art form and subject, and in the space of a few pages he can marshall support for his points from a novelist, painter, poet, photographer, and historian. He is never pretentious, because his primary objective is always communicating his argument with urgency. I bought this essay on the strength of the Pollock essay alone, and I've discovered so many more that I could read again and again; this is really one of my treasured books (a good measure of which is the frequency with which it comes into the bathroom with me).

The tight construction of Berger's essays makes it hard to quote a section and have it make sense as an argument, but here are a few samples: "Nobody who has not painted himself can fully appreciate what lies behind Matisse's mastery of colour. it is comparitively easy to achieve a certain unity in a picture either by allowing one colour to dominate or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby."

Or, in the essay on our changing relationship with animals: "Public zoos came into existence at the beginning of the period which was the see the disappearance of animals from daily life. The zoo to which people go to meet animals, to observe them, to see them, is, in fact, a monument to the impossibility of such encounters. Modern zoos are an epitaph to a relationship which was as old as man." The essay on animals had a passage on nearly every page which made me want to put the book down and think for a few minutes, and I hope I'm not doing it a disservice by quoting a fragment. Buy the book and read it all; there are few other collections that contain such a breadth of knowledge and insight. Seriously, this is value for money.

10 of 11 people found the following review helpful:

5.0 out of 5 stars Selections from a Life Well Spent, March 14, 2004

By	J. G. Herbst (Bucks County, PA) - See all my reviews

This review is from: Selected Essays (Hardcover)

As Arthur Danto has written, Berger's essays are "always original and often inspired". If you've considered reading Berger's essays because his other works, such as "Ways of Seeing" or "G.", have intrigued you, this is the most thorough - and imaginable - collection to date.

This book offers insight into art and life informed by a sagacious and radical ethos almost totally lacking in the work of art critics and the culture industry they supply. Berger is unafraid to speak honestly about what he knows: art and life -- and he knows plenty about both.

(If the investment seems steep, but you still want a solid sampling of Berger's excellent prose, consider "Sense of Sight".)

10 of 13 people found the following review helpful:

5.0 out of 5 stars John Berger is what politically engaged criticism should look like, August 23, 2006

By	Brian A. Oard (Midwestern USA) - See all my reviews

This book is what politically engaged leftist art criticism should look like. This is what American art criticism WOULD look like if we could wrest it away from the academic theory cliques and their exclusionist jargon (in which they, without a hint of irony, frame a discourse of 'inclusion'). A left-wing pirate's treasure chest of golden ideas and silver sentences, this is a book to read, re-read, admire and argue with. Berger is the art critic other critics should learn from.